Awards

Synopses & Reviews

Publisher Comments:

The extraordinary new novel from the acclaimed author of Bad Behavior and Two Girls, Fat and Thin, Veronica is about flesh and spirit, vanity, mortality, and mortal affection. Set mostly in Paris and Manhattan in the desperately glittering 1980s, it has the timeless depth and moral power of a fairy tale.

As a teenager on the streets of San Francisco, Alison is discovered by a photographer and swept into the world of fashion-modeling in Paris and Rome. When her career crashes and a love affair ends disastrously, she moves to New York City to build a new life. There she meets Veronica — an older wisecracking eccentric with her own ideas about style, a proofreader who comes to work with a personal "office kit" and a plaque that reads "Still Anal After All These Years." Improbably, the two women become friends. Their friendship will survive not only Alison's reentry into the seductive nocturnal realm of fashion, but also Veronica's terrible descent into the then-uncharted realm of AIDS. The memory of their friendship will continue to haunt Alison years later, when she, too, is aging and ill and is questioning the meaning of what she experienced and who she became during that time.

Masterfully layering time and space, thought and sensation, Mary Gaitskill dazzles the reader with psychological insight and a mystical sense of the soul's hurtling passage through the world. A novel unlike any other, Veronica is a tour de force about the fragility and mystery of human relationships, the failure of love, and love's abiding power. It shines on every page with depth of feeling and formal beauty.

Review:

"Imagine that Edie Sedgwick penned a roman à clef in her 50s, and that she discovered, in her ugly, diseased decrepitude, that celebrities and downtown loft spaces and skuzzy rich hangers-on were the nadir of existence. Imagine that she managed, in her own post?trauma-addled way, to convey a beautiful-ugly portrait of this life, and the life that followed that life, a life of cleaning offices and riding public buses, in a wincingly acute manner that allowed you not only to forgive the destructiveness in which her youthful self luxuriated but view it as a real human tragedy. This is the accomplishment of Veronica, or rather of Alison, who is the narrator and soul-wearied subject of Mary Gaitskill's second novel. Alison, who lived an Edie-ish life, has a face that is "broken, with age and pain coming through the cracks." Now in her 50s, she cleans her friend's toilet for money, she's sick with hepatitis and her "focus sometimes slips and goes funny";an apt description of her story's pleasing disorientation, a story which amounts to a nonchronological recounting of her "bright and scalding" past as she hikes feverishly up a hill. Alison's narration begins as a bracing account of her "gray present" from which she recalls her childhood and her years as a model in Paris and New York and the death of her friend Veronica from AIDS. A former inhabitant of a face-deep world, she cannot describe a person without first reducing his or her face to a single violent visual stroke ("his face was like lava turned into cold rock"). These descriptions;or dismissals;fail, on purpose, to render any character a visual flesh-and-blood presence; instead, Alison's way of seeing renders people distressingly naked. Of course no seasoned reader of Mary Gaitskill would expect a preeningly tragic book about the emotional pitfalls of modeling, and so where there might be an airbrushed homage to failing beauty or weepy nostalgia over formerly elastic body parts there are instead turds, sphincters, scars, wounds and other celebrated repugnancies. Gaitskill's style is gorgeously caustic and penetrating with a homing instinct toward the harrowing; her ability to capture abstract feelings and sensations with a precise and unexpected metaphor is a squirmy delight to encounter in such abundance. As the book progresses, Alison's gray present becomes subsumed by the scalding brightness of her past, until her sick and ugly self is all but obliterated from the pages; aside from the occasional reminder that Alison is climbing a hill, her sage hindsight collapses into the immediacy of her recollections, and Alison's shallow bohemian fixations again become her only story. The result is that her blunt honesty feels face, rather than soul, deep. It is hard to convey the tragedy of a girl in the prime of her beauty who savors the ugly way she experiences herself; it is more wrenching, and more in keeping with the gimlet-eyed clarity of the book's earlier pages, to convey the tragedy of the truly ugly woman, who once, despite her demurrals and insecurities, knew beauty. (Oct. 11) Heidi Julavits is the author of two novels, The Mineral Palace and The Effect of Living Backwards. She is a founding editor of the Believer. Heidi Julavits, Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)

Review:

"Beautiful, grotesque, graceful, and exceedingly well-executed. People write their whole lives in the hope of coming up with just one sentence that rises to the level of this book....It's a remarkable achievement." The Oregonian (Portland, OR)

Review:

"In Veronica, as ever, Gaitskill's brand of brainy lyricism, of acid shot through with grace, is unlike anyone else's. And it constitutes some of the most incisive fiction writing around." Meghan O'Rourke, The New York Times Book Review

Review:

"Gaitskill taps into a deeper vein of emotional force, and with vivid language and an absorbing architecture, she delivers her most affecting, sophisticated work to date." Boston Globe

Review:

"Beauty and ugliness do battle in Veronica, not only within the minds of its tormented characters but also on the page. Ms. Gaitskill writes so radiantly about violent self-loathing that the very incongruousness of her language has shocking power." Janet Maslin, The New York Times

Review:

"Don't read this book for its disjointed plot, but for Mary Gaitskill's sensuous yet precise language and her tough portrait of a bygone age. (Grade: A-)" Entertainment Weekly

Review:

"[R]avishing....A gorgeous, articulate novel that is at once an unflinching meditation on degradation and a paean to deliverance." Kirkus Reviews

Review:

"[A] raw-nerves novel that is at once elegiac, funny, and life affirming." Booklist (Starred Review)

Review:

"Gaitskill's implacable refusal of sentimentality is her great strength — no group hugs here, just baleful understanding." The Washington Post

Review:

"While the book occasionally gives off emotional sparks and affixes apt impressions to well-drawn scenes, its rehashed plot and herky-jerky structure are millstones around the reader's neck." Miami Herald

Synopsis:

Alison and Veronica meet amid the nocturnal glamour of 1980s New York: One is a young model stumbling away from the wreck of her career, the other an eccentric middle-aged office temp. Over the next twenty years their friendship will encompass narcissism and tenderness, exploitation and self-sacrifice, love and mortality. Moving seamlessly from present and past, casting a fierce yet compassionate eye on two eras and their fixations, the result is a work of timeless depth and moral power.

About the Author

Mary Gaitskill is most recently the author of Because They Wanted To, which was nominated for the PEN/Faulkner Award in 1998. Her stories and essays have appeared in the New Yorker, Harper's Magazine, Esquire, The Best American Short Stories (1993), and The O. Henry Prize Stories (1998). Her story "Secretary" was the basis for the film of the same name. The recipient of a Guggenheim Fellowship, she teaches creative writing at Syracuse University. She lives in New York.

What Our Readers Are Saying

Average customer rating based on 2 comments:

elnamaste1, January 4, 2012 (view all comments by elnamaste1)
I picked up the book initially because I have read Mary Gaitskill's other works. It's a great book. A little abstract at times, but I like that. I enjoyed every minute of reading it and missed the characters when I was done.

Michael Evans, January 4, 2010 (view all comments by Michael Evans)
Whether in the short or long story medium, Mary Gaitskill never ceases to amaze with her mastery of language and the narrative form. "Veronica" is her finest work, an engaging and enriching literary experience and inspiration for both burgeoning and established writers. Through proper diet, regular trips to the gym and the savvy use of steroids, my prose one day may be as great as hers.

Was this comment helpful? | Yes | No(6 of 9 readers found this comment helpful)

"Publishers Weekly Review"
by Publishers Weekly,
"Imagine that Edie Sedgwick penned a roman à clef in her 50s, and that she discovered, in her ugly, diseased decrepitude, that celebrities and downtown loft spaces and skuzzy rich hangers-on were the nadir of existence. Imagine that she managed, in her own post?trauma-addled way, to convey a beautiful-ugly portrait of this life, and the life that followed that life, a life of cleaning offices and riding public buses, in a wincingly acute manner that allowed you not only to forgive the destructiveness in which her youthful self luxuriated but view it as a real human tragedy. This is the accomplishment of Veronica, or rather of Alison, who is the narrator and soul-wearied subject of Mary Gaitskill's second novel. Alison, who lived an Edie-ish life, has a face that is "broken, with age and pain coming through the cracks." Now in her 50s, she cleans her friend's toilet for money, she's sick with hepatitis and her "focus sometimes slips and goes funny";an apt description of her story's pleasing disorientation, a story which amounts to a nonchronological recounting of her "bright and scalding" past as she hikes feverishly up a hill. Alison's narration begins as a bracing account of her "gray present" from which she recalls her childhood and her years as a model in Paris and New York and the death of her friend Veronica from AIDS. A former inhabitant of a face-deep world, she cannot describe a person without first reducing his or her face to a single violent visual stroke ("his face was like lava turned into cold rock"). These descriptions;or dismissals;fail, on purpose, to render any character a visual flesh-and-blood presence; instead, Alison's way of seeing renders people distressingly naked. Of course no seasoned reader of Mary Gaitskill would expect a preeningly tragic book about the emotional pitfalls of modeling, and so where there might be an airbrushed homage to failing beauty or weepy nostalgia over formerly elastic body parts there are instead turds, sphincters, scars, wounds and other celebrated repugnancies. Gaitskill's style is gorgeously caustic and penetrating with a homing instinct toward the harrowing; her ability to capture abstract feelings and sensations with a precise and unexpected metaphor is a squirmy delight to encounter in such abundance. As the book progresses, Alison's gray present becomes subsumed by the scalding brightness of her past, until her sick and ugly self is all but obliterated from the pages; aside from the occasional reminder that Alison is climbing a hill, her sage hindsight collapses into the immediacy of her recollections, and Alison's shallow bohemian fixations again become her only story. The result is that her blunt honesty feels face, rather than soul, deep. It is hard to convey the tragedy of a girl in the prime of her beauty who savors the ugly way she experiences herself; it is more wrenching, and more in keeping with the gimlet-eyed clarity of the book's earlier pages, to convey the tragedy of the truly ugly woman, who once, despite her demurrals and insecurities, knew beauty. (Oct. 11) Heidi Julavitsis the author of two novels,The Mineral Palace andThe Effect of Living Backwards. She is a founding editor of theBeliever. Heidi Julavits, Publishers Weekly (Starred Review) (Copyright Reed Business Information, Inc.)

"Review"
by The Oregonian (Portland, OR),
"Beautiful, grotesque, graceful, and exceedingly well-executed. People write their whole lives in the hope of coming up with just one sentence that rises to the level of this book....It's a remarkable achievement."

"Review"
by Meghan O'Rourke, The New York Times Book Review,
"In Veronica, as ever, Gaitskill's brand of brainy lyricism, of acid shot through with grace, is unlike anyone else's. And it constitutes some of the most incisive fiction writing around."

"Review"
by Boston Globe,
"Gaitskill taps into a deeper vein of emotional force, and with vivid language and an absorbing architecture, she delivers her most affecting, sophisticated work to date."

"Review"
by Janet Maslin, The New York Times,
"Beauty and ugliness do battle in Veronica, not only within the minds of its tormented characters but also on the page. Ms. Gaitskill writes so radiantly about violent self-loathing that the very incongruousness of her language has shocking power."

"Review"
by Entertainment Weekly,
"Don't read this book for its disjointed plot, but for Mary Gaitskill's sensuous yet precise language and her tough portrait of a bygone age. (Grade: A-)"

"Review"
by Kirkus Reviews,
"[R]avishing....A gorgeous, articulate novel that is at once an unflinching meditation on degradation and a paean to deliverance."

"Review"
by Booklist (Starred Review),
"[A] raw-nerves novel that is at once elegiac, funny, and life affirming."

"Review"
by The Washington Post,
"Gaitskill's implacable refusal of sentimentality is her great strength — no group hugs here, just baleful understanding."

"Review"
by Miami Herald,
"While the book occasionally gives off emotional sparks and affixes apt impressions to well-drawn scenes, its rehashed plot and herky-jerky structure are millstones around the reader's neck."

"Synopsis"
by Random,
Alison and Veronica meet amid the nocturnal glamour of 1980s New York: One is a young model stumbling away from the wreck of her career, the other an eccentric middle-aged office temp. Over the next twenty years their friendship will encompass narcissism and tenderness, exploitation and self-sacrifice, love and mortality. Moving seamlessly from present and past, casting a fierce yet compassionate eye on two eras and their fixations, the result is a work of timeless depth and moral power.

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